Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from France and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Winnipeg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Man Eating Sloth to the grunge kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by the Bar-Kays. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
John Foxx,
Wasted Youth,
the Normal,
The Sisters of Mercy,
Soul Sonic Force,
Anthony Braxton,
Eve St. Jones,
Notorious BIG live in Amsterdam,
Jerry's Kids,
Motorama,
Big Daddy Kane,
The Dead C,
DNA,
the Swans,
Lonnie Liston Smith,
Lou Christie,
Drive Like Jehu,
Kenny Larkin,
Procol Harum,
Niagra,
Chris & Cosey,
Nick Fraelich,
Fela Kuti,
Brothers Johnson,
Ajijia Myrayebe,
Warren Ellis,
The Fugs,
Cybotron,
Can,
Nick Cave & The Bad Seeds,
Judy Mowatt,
The Walker Brothers,
Animal Collective,
Yellowson,
Archie Shepp,
Lungfish,
Sister Nancy,
Jimmy McGriff,
Supertramp,
Magma,
Japan,
the Association,
The Selecter,
Max Romeo,
Rhythim Is Rhythim,
Oblivians,
Bad Manners,
The Standells,
Sandy B,
The Cure,
The Pop Group,
Gian Franco Pienzio,
Jawbox,
The Moody Blues,
Patti Smith,
The Gories,
Porter Ricks,
cv313,
Radiohead,
Brass Construction,
Dead Boys,
James White and The Blacks,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.